Allma Mater Studiiorum – Uniiversiità dii Bollogna DOTTORATO DI RICERCA IN DESE - Les Littératures de l’Europe Unie Ciclo XXVI Settore Concorsuale di afferenza: 10/E1 Settore Scientifico disciplinare: 10/L1 The Bible in Medieval Love Lyrics: A Fundamental Element of European Poetry Books Presentata da: Robert Lincoln Hackett Coordinatore Dottorato Relatore Anna Paola Soncini Alessandro Zironi _______________________ ________________ 2014 1 O. Abbreviations BdT Alfred Pillet, Bibliographie der Troubadours, Halle: Nieymeyer, 1933. BL London, British Library BNF Bibliothèque Nationale de France CSCO Corpus scirptorum christianorum orientalium CLPIO D’Arco Silvio Avalle (ed.), Concordanza della lingua italiana delle origini, Milano, Napoli: Ricardo Ricciardi Editore, 1992. Fol./f./ff. Folio/Folia GdC Lino Leonardi, Guittone d’Arezzo, Canzoniere: i sonetti d'amore del codice laurenziano, Torino: Einaudi, 1994 IMEV Carleton Brown and R.H. Robbins (eds.) Index of Middle English Verse, New York, 1993. MCE Gaunt, Simon, Ruth Harvey and Linda Paterson (eds.), Marcabru: A Critical Edition, Cambridge: D.S. Brewer, 2000 MS(S) Manuscript(s) PD (I, II) Gianfranco Contini, Poeti del duecento, Milano, Napoli: Riccardo Riccardi Editore, 1960, Tomi 1 and 2. PIMS Pontifical Institute of Medieval Studies THL Brooks, G. L. (ed.), The Harley Lyrics: The Middle-English Lyrics of MS. Harley 2253, Manchester: Manchester University Press, 1948. 2 Indice 0. Abbreviations…………………………………………………………………………..……2 Indice……………………………………………………………………………….…….…….3 Acknowledgements…………………………………………………………………………….5 Dedication……………………………………………………………………………………...6 Avant Propos: Europe and Literature…................….................................................................7 I. Introduction I.i. Background…………………………………………………..……………………11 I.i.i. What Bible where and when?........................................................................12 I.i.ii. Use of the Bible / Ban on the use of the Bible……………………………..18 I.ii. The Bible in literary genres….……………………………………………………28 I.ii.i. Charters…………………………………………………………………….29 I.ii.ii. Epic Poetry………………...………………………………………………34 I.ii.iii. Romance……….………...………………………………………………..41 I.iii. Lyric Love Poetry and the Bible....………………………………………………49 I.iii.i. Latin……..…………………………………………………………………51 I.iii.ii. Occitan…….….…………………………………………………………...65 I.iii.iii. Italian….………….………………………………………………………74 I.iii.iv. Middle English………..…………..…….………………………………...80 II. Corpus II.i. Marcabru and Modena, Biblioteca Estense ed Universitaria, MS α.R.4.4.......87 II.ii Guittone d’Arezzo and Firenze, Biblioteca Laurenziana, MS Redi 9............121 II.iii British Library MS Harley 2253…….…….……………………….....……168 3 III. Biblical Characters………………………………………………………………………198 III.i. The First Family: Adam and Abel, Eve and Cain…..…………………….204 III.ii. Men Ruined by Love (and Saved by God)……...………………………..217 III.iii. Jesus and His Disciples: A New Way to Salvation…...…………………232 IV. Wisdom Books for Advice and Praise………………………………………………….249 IV.i. Proverbs in Love Poetry…………………………………………………..253 IV.ii. The Psalter as Spiritual and Poetic Guide?……….…………………….273 IV.iii. Cantico Canticorum: Sensuous Praise Poetry…….……………………..285 V. Conversion/Redemption………………………………………………………………...301 V.i. The Conversion Topos in European Literature…………………..………...302 V.ii. Authorial Desire and Personal Conversion………………………………..307 VI. Conclusions : Biblical Interpretations and MS Culture…………………………………327 VII. Bibliography……………………………………………………………………………333 4 Acknowledgments I would like to take this moment to thank all of those people without whom this thesis would not have been possible. My thanks first and foremost must go to all of the professors involved in the DESE program, for their help in giving me direction in this vast argument that is European literature. Through our various conferences, lectures and meetings my initial idea of “something about Guittone d’Arezzo” became all that which follows here. Particular thanks must go to the director of both the DESE program and the Erasmus Mundus CLE (Cultures Littéraires Européenes) program, Professor Anna Soncini. I would not even be here in Bologna today to write this thesis had her program not been available to Americans back in 2008. Some of the most important things in my life have happened here in Europe, and it is thanks in large part Professor Soncini and the programs that she oversees. Thank you. In 2012 I had the opportunity to study at the Pontifical Institute of Medieval Studies in Toronto. I would like to thank everyone there in Toronto for helping me more fully understand what it takes to work in our chosen field: thanks to Barbara North, Dean Dimkins, Suzanne Akbari, Will Robins and my wonderful colleagues at PIMS. Special thanks to Greti Dinkova-Bruun for her help in the library, on my research in particular, and for reading very early drafts of my research on Middle English lyrics. In 2013 I was given the opportunity to study at the Bodleian Library in Oxford, thanks to the Europaeum and to Dr. Paul Flather particularly. I thank Bhuvana and Babak for helping to make Oxford so welcoming, Paul for the opportunity, and the helpful staff at the Bodleian who were generous with their time and knowledge of the MS collections that were of interest to my research. I would also like to sincerely thank two professors who have been most generous in their time and knowledge in the past two weeks: Carter Revard has informed me of many articles and scholars that I was only moderately aware of and has been more than kind in his exchanges with me, while Susanna Fein generously sent me the index for her forthcoming volumes on the Harley MS, which, although not available for my research, will be among the most important scholarly works on this MS to date. To both of these professors I give many thanks. None of this would have been possible without the wisdom and guidance of Professor H. Wayne Storey at Indiana University, Bloomington. I found out about and fell in love with Guittone d’Arezzo as an undergraduate student in one of his classes, about Occitan literature in general as an MA student in one of his classes, and how to be a philologist simply by being near him and seeing his work. Professor Storey has gone above and beyond the duties of a simple professor throughout the years and has always tried to help me understand the importance of the love of this craft. Finally, my warmest and most heartfelt thanks go to Professor Alessandro Zironi, of the Università di Bologna. Professor Zironi has given me opportunities I thought impossible, he has been understanding and encouraging with the life of a human being, and he has been a mentor and guide in these past three years. Professor Zironi has meticulously read every word in this thesis and it is much better thanks to his suggestions and input. I have begun to understand now that philology is a slow science. Thank you, Professor. 5 Per Marina Tu, donna, se' la luce chiara e bella per cui nel tenebroso mondo accorto vivo; tu se' la tramontana stella la quale io seguo per venire a porto; ancora di salute tu se' quella che se tutto 'l mio bene e 'l mio conforto; tu mi se' Giove, tu mi se' Apollo, tu se' mia musa, io l'ho provato e sollo. ~G. Boccaccio, Il Filostrato, Parte Prima, vv. 9 - 16 6 Avant Propos: Europe and Literature One of the first and most famous instances of an idea of a unified literary Europe is found in a story involving the Apostle Paul. In a noted biblical passage this man from Tarsus, in what is now southern Turkey (in the province of Mersin), was able to claim that he was a Roman, and thus part of the European Community, such as it was in his time. In the Acts of the Apostles, chapter 22, verses 27 and 28 we read a conversation between Paul and a judge: accedens autem tribunus dixit illi dic mihi tu Romanus es at ille dixit etiam et respondit tribunus ego multa summa civitatem hanc consecutus sum et Paulus ait ego autem et natus sum.1 Paul was a Roman by birth and therefore had the rights and privileges that this citizenship entailed. During the Roman Empire there was, in Latin, a common Roman literature, taught in the schools and well diffused.2 But with the fall of the Roman Empire in the west, around the year 476 AD, the unified Empire failed, throwing the West into a tumultuous era that historians have called the Dark Ages until the very recent past.3 Though some men made a valiant effort to recall for posterity the ideas of late antiquity (especially members of the Church, like Isidore of Seville, whose works will be discussed in chapter one of the present study) the ideas espoused in the Western writings became more local, less international and therefore less European.4 This is the geographic place and the point in history where my research begins. Slowly and haltingly more people in the West began writing more systematically, and as the early Middle Ages progressed people once again began to have an idea of a unified European literature. There were two main building blocks of this long process: the works of 1 All biblical citations in the body of our study will come from Bonifatius Fischer, Robert Weber, Roger Gryson (eds.), Biblia Sacra Iuxta Vulgata Versionem, editionem quintam emendatam, Stuttgart: Deutsche Bibelgesellschaft, 2007, except when we discuss original medieval translations. Translations of the text within the notes will always come from The Holy Bible: containing the Old and New Testaments translated out of the original tongues and with the former translations diligently compared and revised: King James (authorized) version. London [etc.]: The British and Foreign Bible Society, 1969, except in those cases in which the Authorized Version does not contain the text of the Vulgate: in those cases the reference Bible in English will be The New Oxford Annotated Bible, 3rd edition, Oxford: Oxford University Press, 2007. “Then the chief captain came, and said unto him, Tell me, art thou a Roman? He said, Yea. And the chief captain answered, With a great sum obtained I this freedom.